A few notes to save along with the theatre programs, restaurant bills, and concert handstamps

Tag Archives: roxy theatre

I’ve heard good things about Old Trout Puppet Workshop of Calgary for a while. I’ve seen them mentioned in the credits for other people’s shows – for the rabbit puppets in Chris Craddock’s Velveteen Rabbit for sure. So I was excited to see one of their shows listed in the 2014-2015 Theatre Network season.

Theatre Network’s home, the Roxy Theatre on 124 Street, burned down just over three weeks ago. The show in production there at the time, Human Loser Theatre’s Cheerleader, was able to have a staged reading in another venue almost immediately, and other shows and events are being relocated to take place on the original schedules. This one is in an auditorium at Eastglen High School called Majestic Theatre, an attractive functional space with rounded wooden seats on a slightly raked floor. The high school is near Rexall Place and the Highlands neighbourhood. It is easy to get to by car and easy to park (except for the opening-night snowstorm). When I arrived at the property of the large brick school building, trying to figure out how to get to the theatre from where I’d parked, it reminded me of my first trips to see Fringe shows at Strathcona Composite School, only with snow. (The theatre is right by the front door of the school which faces 68 Street.)

Bradley Moss, Artistic Director of Theatre Network, spoke briefly before the performance about the support that Theatre Network has been receiving from the public, arts and government groups, and other theatres. Everything seems to be coming into place for the short term (the rest of the season will be in the new Backstage Theatre at the Arts Barns, with the Varscona team delaying their own renovations to allow for this), and they hope to rebuild at their 124 Street location. Online donations through Canada Helps are convenient.

Anyway, the show. When my companion asked me afterwards what I thought of it, I said that they were skillful, funny, and warped. Lots of deaths, of various manner and means. An encyclopedic collection of kinds of puppets and puppetry, at various scales. Separate short vignettes with a couple of reappearing characters. I laughed, winced, felt pity, and often got caught up in the realities of the puppets. I did not get to see the puppets up close because we sat farther back, but they seemed like beautiful detailed evocative artifacts. (I suggest sitting closer if possible.) Famous Puppet Death Scenes runs about an hour and a half without intermission. It is playing until February 22nd as originally scheduled, and you can get tickets through Tix on the Square.

After taking a couple months off from posting (I’ve still been doing theatre stuff and watching shows, and I hope to share my notes with you and get caught up soon), the first production I am posting about is the one I didn’t get to see, the ticket I didn’t get to use – Human Loser’s production of Morgan Smith’s Cheerleader, scheduled to open at the Roxy Theatre last week under Clinton Carew’s direction.

Because, as anyone in the Edmonton theatre scene already knows, the Roxy Theatre building burned down last Tuesday morning, just as Cheerleader was set to start preview performances. The building was built in 1938 as a movie theatre, and had been home to Theatre Network since 1989. Theatre Network, under the artistic direction of Bradley Moss, produces an annual schedule of challenging professional theatre, often new and often Canadian, hosts the emerging-artists festival Nextfest in the spring, and also curates a “Performance Series” of works from other theatre companies, like Cheerleader. I had been looking forward to this play, being familiar with the work of local actors Joleen Ballandine (last seen in the Fringe Festival comedies Real Time and Excuse Me! and as a regular player at Rapid Fire improv), Patrick Lundeen (Kill Me Now, Sia, Christmas Carol, etc), and Lianna Makuch (U of A BFA grad I’ve also seen on several local stages since she graduated).

Playwright Morgan Smith hopes to have arrangements in place soon for a local production to do this script justice, after replacing the lost props, costumes, and set. But they were able to do a bare-stage reading last night at the University of Alberta Timms Centre Mainstage, thanks to the generosity of the Timms Centre and the Department of Drama.

What I heard and saw last night confirmed that I will definitely take the opportunity to see the full production.

I had never been to a staged reading before. The playwright and the actors were all on a simply lit bare stage with chairs and with scripts on music stands. The playwright read the stage directions. The actors stood when they were in the scene and sat down when they weren’t. Instead of looking at each other or hitting each other or embracing each other as the script called for, they all faced the audience and mimed a bit as needed. This was a bit distracting at first but was easy to get used to. It reminded me of attending the recording of a radio show like The Irrelevant Show.

The two most enjoyable parts were the parts that were acted out, which is part of why I want to see the rest of the show acted out. The show opened with a delightful cheerleading routine / dance number involving all four characters with pompoms. And partway through there was a hilarious non-verbal scene set in a row of cinema seats, with people changing seats, sharing popcorn, making out, and disagreeing.

The characters in the story were four high school students, two football players (Patrick Lundeen and Matthew McKinney of Calgary) and two cheerleaders (Lianna Makuch and Joleen Ballandine). The head cheerleader (Makuch) and the quarterback (Lundeen) seemed to be the “alpha couple” of the school, with the other two as their respective best friends. Each of the characters was shown to have some familial or personal challenges, using the narrative techniques of monologue asides or scenes with the other actors standing in as teachers and family members. There was also some narrative framing of Lianna Makuch’s character telling the story to the audience by directing the others to act it out, which was particularly amusing as the narrative ended, but because of the nature of the reading I found this framing a bit confusing. I am sure it would be more clear in a fully-staged performance.

The story seemed to be taking place in a one-week timeframe, as the other characters planned a surprise birthday party for Lundeen’s character on the next Saturday night. Some of the situations and attitudes seemed fairly predictable, although not boring or stereotypical, but the characters were interesting enough to intrigue me.

Joleen Ballandine’s character Sophie was the most interesting to me, as the cheerleader-sidekick in unrequited love with her female best friend. The scene in which she vents her internalized homophobia in a vicious phone call to an offstage gay character is compellingly awful and unfortunately credible.

Donations to Theatre Network may be made on line through Canada Helps. I know that Human Loser Theatre was collecting donations last night to re-mount Cheerleader, but I don’t know if they also have an on-line donation option. (I’ll link later if I find out anything.)

Beth Graham’s play The Gravitational Pull of Bernice Trimble, directed by Bradley Moss at Theatre Network, explores a familiar family crisis time with some refreshing new thoughts. In my adult acting classes, we’ve studied scenes from Daniel MacIvor’s Marion Bridge and from The Attic, The Pearls, and Three Fine Girls by Jennifer Brewin, Leah Cherniak, Ann-Marie Macdonald, Alisa Palmer and Martha Ross, both of which are stories about adult children who return to the family home when a parent is dying. I’ve been through similar experiences, twice, so I can understand why such crisis times work well for a playwright, with all the characters having old baggage and resentments with each other, all stuck in a current high-stakes situation. And because I remember what it was like sharing our childhood home with my siblings while we spent our days at the hospital and our evenings scanning through Mum’s television channels and filling up her fridge with fast-food leftovers while the neighbours’ casseroles went uneaten, stories of interesting characters going through similar struggles resonate and appeal to me.

The first exciting difference about Bernice Trimble was that the widowed mother, Bernice (Susan Gilmour, recently seen in Drowsy Chaperone and in Spamalot), was a character on stage, rather than an invalid in an offstage bedroom. She turns out to be a fascinating character too, honest and determined and accepting of each of her children’s differences. Having the mother on stage interacting with her children made this a rich fascinating story of earlier stages of illness and aging than the stories I alluded to in the first paragraph. It also helped to illustrate the title. “Gravitational pull” is the playwright’s expression for how, for better or for worse, an extended family is often drawn together by one specific person (maybe a parent or grandparent). Astronomical metaphors were used throughout the narrative but not in a contrived way.

The story is told mostly from the viewpoint of Iris, the middle child (Clarice Eckford) on whom Bernice depends for the most difficult requests. The narrative jumps back and forth between one later important day and a series of scenes of family members interacting over several months. Iris frequently addresses the audience, narrating what happens between the scenes from her point of view. The set represents both Iris’s kitchen and their mother’s. It is generally clear which location is being presented, even without narrator Iris’s clue of setting out salt and pepper shakers every time the set is her mother’s house. Many family traditions and customs are referred to and repeated, from Bernice’s habits of embracing her children and her endearments for them, to the rituals of family meeting and making a classic 1960s-style casserole. As Iris tells the story, she often uses the expression “That was that … only it wasn’t” as a transition.

The other two siblings, older sister Sarah (Patricia Zentilli) and younger brother Peter (Jason Chinn), respond to the mother’s announcement that she has Alzheimer’s disease in their own fashions, Sarah with denial and plans for second opinions and treatments, and Peter with awkward taciturn acceptance. Sarah and Iris are also caught up by disputing who is “last to know” important family business, another familiar touch. I thought that Peter’s small role was presented effectively and with sympathy by the playwright and the actor, because his quiet avoidance and flashes of kindness could so easily have been overplayed into humour, and they were not.

The audience gets only a single disturbing glimpse of the progression of Bernice’s illness before she enlist’s Iris’s commitment to be accessory to her suicide. And Iris, the one who might appear least successful or least mature by some of her family ‘s measures (chatty and scattered, still single, no children, working as a temp) is the one who accepts and supports her mother’s right to make that choice, despite the pain it causes her.

I found it emotionally evocative and not manipulative, a believable portrait of a family and an illness. The Gravitational Pull of Bernice Trimble continues at Theatre Network until November 23rd, with tickets available here.

I first saw the Edmonton Actors Theatre production of John Clancy’s Fatboy at the Fringe festival in 2012, on the recommendation of a new friend. That seems like a long time ago, in my history of exploring Edmonton theatre. I liked it at the time, but I think I was confused by not knowing what to expect in the unfamiliar genre.

Two years on, I was excited to hear that Fatboy was going to be part of the Roxy Theatre’s Performance Series, with Dave Horak directing the same cast (Frederick Zbryski, Melissa Thingelstad, Mathew Hulshof, Tim Cooper and Ian Leung). Knowing more about what to expect, and having seen a bit more bouffon and other kinds of odd theatre in the interim, I did not feel as uncomfortable this time around and I enjoyed it more. It was funny that I felt closer to the action in the auditorium of the Roxy than I had upstairs at the Armoury.

The eponymous Fatboy (Frederick Zbryski) and his wife Fudgie (Melissa Thingelstad) have that kind of affectionate and acrimonious relationship that is central to a lot of comedy, but taken to extremes and excesses. Their struggles and adventures take them through three scenes, in their home, in a courtroom, and then in a throne room, with some funny addresses to the audience and musical interludes in between. The stock characters of courtroom and throne room (Mat Hulshof, Tim Cooper, Ian Leung) were funny, particularly in a sort of shared delayed guffaw, but I was most entertained by Mat Hulshof’s first-scene Tenant. I was also amused by some occasional breaking the fourth wall and conventions of theatre to comment on a double-cast character going to change costume, a comment about the Sterling awards, and so on.

Partway through, I found myself completely startled by how much this over-the-top obscene ridiculous farce was actually relevant to current government and politics. I think that in 2012 I was too busy trying to make literal sense of what I was seeing to pick up on the ways that it was saying familiar things “more truthful than fact”.

It ran about an hour and a half, which I think was a bit longer than the Fringe version. Mostly they made good use of the extra time, although a couple of bits of business dragged a bit. The costumes (Melissa Cuerrier) added to the exaggeration.

Since I started paying attention to the breadth of live theatre available in Edmonton, I’ve gradually discovered that Edmonton has an unusually strong tradition of clown and physical theatre, in part due to the teaching and mentoring of master clowns like Jan Henderson and Michael Kennard, at University of Alberta and elsewhere. I’ve seen many of their students and former students perform, but never had the chance to see either of them on stage.

Mump and Smoot are the creations of Michael Kennard and John Turner. According to the program for Mump and Smoot in Anything, the artists met at Second City in Toronto, both studied with Richard Pochinko who basically started the Canadian style of clowning, and have been performing Mump and Smoot for twenty-six years. For those who hadn’t heard of the duo before or who hadn’t noticed that the title on the program cover seemed to be written in dripping blood, the program also helpfully mentioned that they are referred to as “clowns of horror”. This and their general reputation cued me to expect something a little more gory and gross than a typical clown show – and the hints were welcome.

Like many clowns from the Pochinko tradition, Mump and Smoot vocalize but not always in comprehensible vernacular. (A show I saw last winter from Calgary’s PIE Factory Collective had the interesting variation of using a gibberish that contained bits of French and bits of English.) Their unique language, “Ummonian”, contains enough English words and near-English along with gestures and unmistakable facial expressions that after the first framing sequence it was fairly easy to follow the narrative of the three following vignettes and final sequence. Mump (Michael Kennard) was the taller one, a higher-status older-brother type of role. Smoot (John Turner) was the one who connected with the audience and drew the audience’s sympathies. Prop changes and scene introductions were managed by a silent white-faced woman in straggly white draperies with a very Catalyst-Theatre aesthetic, Candace Berlinguette as Knooma. The three scenes were titled “The Escape”, “The Romp”, and “The Remedy”. They fit together somewhat but were mostly separate stories. They were funny and poignant and occasionally really gross and creepy, but in ways that the audience seemed to enjoy sharing. There was a little bit of audience participation, generally consensual and not too embarrassing.

I laughed a lot and I found the stories satisfying. Part of why I don’t enjoy clowns from the American circus traditions or a lot of mimes is that I don’t enjoy perpetual-victim stories like RoadRunner and Coyote. But these two characters Mump and Smoot, for all their weird troubles and disagreements, didn’t seem to be trying to beat each other or trick each other. They liked each other. As with the Rocket and SheShells duo (Adam Keefe and Christine Lesiak, seen in Fools for Love and in Sofa So Good) or the Nona and Squee partnership of Life After Breath (Amy Chow and Neelam Chattoo), they argued in ways that were familiar enough to be funny, and came to fair resolutions. I can see that both performers were very good at what they did, at communicating just enough of their emotions and intentions to captivate the audience and developing a story with just enough unpredictability to delight. I don’t know how they did it. I would definitely watch them again. In anything. Or, well, in Anything, if my schedule permitted.

Mump and Smoot in Anything is playing at the Roxy Theatre on 124 Street until April 27th. Tickets are available through Theatre Network.

The last time I saw Jesse Gervais on stage with Theatre Network he and Lora Brovold were making me cry in Let the Light of Day Through, as directed by Bradley Moss. This week I saw him and Amber Borotsik in the Theatre Network production of Hannah Moskovitch’s Little One, also directed by Bradley Moss. And I did tear up a bit again, but mostly I just found it so gripping that I kind of forgot to breathe and completely lost awareness of the passage of time. One of my theatregoing companions said that his foot fell asleep and he didn’t want to move.

The character telling the story, Aaron (Gervais), is a doctor, a surgical resident about 30 years old. He spends most of the play talking to the audience or maybe his off-stage colleagues about his memories of life with his troubled younger sister. His narrative is interspersed with scenes where he and his sister Claire (Borotsik) are children and young teenagers. With subtle shifts in body and voice and credible dialogue, Gervais made a convincing child of eight to fourteen years old, the older brother who is trying to be the good kid, who cares about his sister but is frustrated and sometimes angry or frightened or resentful at her behaviour and her effect on the family. It was very clear that Borotsik was portraying a child a couple of years younger than Aaron in each scene, but also that something was a little off about her affect.

The other people recurring in the stories, Mum and Dad and the neighbours Kim-Lee and Roger, are not represented directly, and the story feels sufficient with just the two characters, through the past and in the present. In the present, the siblings are not interacting face-to-face. It seems that they have been out of touch for some time, but Aaron receives a cassette tape letter in the mail from his sister and plays it, as we see Claire telling the story on the tape. Basically everything on stage is storytelling, either acting out in flashback, Aaron’s direct narrative, or Claire’s story on tape – but the performance is still very intense. The audience was very quiet on the preview night, chuckling nervously at a few appropriate places but otherwise I think other people were as gripped by the story as I was.

And what was the story? Part of why it was so effective for me was that I didn’t know much about it ahead of time, so I think I won’t recount the narrative here. It’s got some elements of awfulness, but every time I thought, I see where this is going, I know what all these stories mean, I was not quite right. My companions agreed with me that the writing was very clever, with some plot elements being surprising when they happened and then making such complete sense afterwards that we felt as if we should have guessed but didn’t.

One of the most effective things in the way this story was told was Aaron’s way of hinting at things he couldn’t bear to say. He’d use circumlocutions “that day” “the … incident …” but he’d also start lots of sentences that he couldn’t finish, sometimes trying two or three times before finding a way in to a painful story. Gervais as the adult Aaron seemed to have a very tense jawline, as he struggled to tell things that the character said he didn’t often talk about. And you could see that the careful, self-controlled surgical resident was who the younger Aaron had turned into, the little boy who lost two families and the teenager whose parents needed him to be an adult too young.

I’m writing a lot more about Gervais’s character than about Borotsik’s, because part of her effective portrayal was showing that Claire did not have normal attachment to her family or others, and she basically didn’t seem to make eye contact with the audience either. She was heartbreaking and frightening and occasionally funny.

I don’t actually remember if there were any stage-manager warnings about content posted at the box office. There isn’t an intermission, which is how I prefer it for an emotionally intense show. There is some swearing. And there are some disturbing concepts.

Can I say I liked it? It’s not that simple. I’m very glad I went, I’d go again if I had time, and I bet it will be nominated for more than one Sterling Award category. You should see it too, if you can tolerate some painful subject matter in a good story well done. Tickets are here.

Earlier this month I saw the final show of A Brontë Burlesque, the Send in the Girls show that played at the Roxy Theatre. I remembered seeing a version at Fringe 2012, in a basement space south of Whyte Avenue, but the bigger stage and better-designed auditorium improved the viewing experience a lot. The show was directed by Lana Michelle Hughes. Ellen Chorley and Delia Barnett were returning to the show as producers and performers (playing Emily and Anne Brontë), and the other two performers were new to the show, Chris W Cook as Branwell Brontë and Samantha Duff as Charlotte Brontë the eldest surviving sibling.

The scenes jump around in time, but are announced by the year “It is 1848” or whatever, and I soon got perspective on those dates by comparing them with the death dates of the various characters. And, well, they all die. But they don’t disappear from the stage – the scenes of the latest-surviving character have the spirits of the others clustered around the deathbed.

The interplay of the various combinations of characters was fascinating. (I have several siblings myself, so I recognised some of this, but I hope my manipulations were more benign. And we haven’t run about in our underwear since we were small children playing superheroes, either.) The characters became distinct for me very quickly.

The conventions of burlesque allowed the costume designer (Tessa Stamp) to show us several layers of approximately-period clothing along with coloured draping used as props for the dancers. The dance piece where the three sisters put on men’s dress shirts and ties to portray their literary noms de plume was particularly well done. Each of the performers had a solo dance at some point during the show, and the choreography provided for character reveal as well as artistic allure. The new performer for Branwell, Chris W. Cook, danced his solo with good audience rapport and apparent enjoyment, so it was a little disappointing to me that he didn’t disrobe further than slipping off his tie, dress shirt, and braces, when the female dancers had gone farther.

I can’t remember the previous production well enough to say for sure what is different. The set detail of a portrait with faces that fade in and out (a Matt Schuurman video design detail of course) was in the previous production but it was done better this time.

As several of the characters in the story died of tuberculosis or related lung problems, the stage convention of a bloody handkerchief was used more than once. I do not know whether people in previous eras ever coughed blood and didn’t die, because on stage and screen that convention always means Anyone seeing this now knows this person is about to die. And I saw this device again the other night in Nevermore.